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APULEIUS, FLORIDA 16, COMMENTARY


text published in: 

Apuleius of Madauros, Florida, edited with a commentary by Vincent Hunink, (Gieben), Amsterdam 2001; [258 p.] ISBN 90 5063 218 1;


XVI            THANKS FOR A STATUE

Before I start thanking you for the statue you granted me I will relate why I was absent and stayed at the Persian Baths. A similar thing happened to the comic writer Philemon. This Philemon was a writer of Middle Comedy, a rival of Menander. In his work you may find all the stock characteristics of comedy. Once when he was reciting a new work, rain forced him to stop, just as it happened to me, and to postpone the rest of his performance to the following day. Next day the audience gathered and waited for him. When he did not arrive, some people went to his house and found him, lying dead on his bed, still holding a scroll. They returned and announced that the comedy had, in fact, ended in a funeral.

I too had to postpone a recital interrupted by rain, and I had a dangerous accident as Philemon did: I badly twisted my ankle and found myself very ill as a result. So I went to the Persian Baths for cure. As soon as I was somewhat recovered, I came back to fulfil my promise and even hastened to thank you for your honour. For you have granted me a statue although I did not ask for one, a great honour indeed, for which I owe you special thanks. For this moment, my speech of thanks must suffice, but I will also write a new book for the excellent and eminently learned magistrate Aemilianus Strabo.

I do not yet know how to praise him, but I will try. Joy and happiness are impeding my speech! For this man has requested a site for a statue of me. He did so in a complimentary address to you, in which he treated me as his equal, recommended me, and promised to pay for a statue for me. What greater honour could I obtain? Yes, the senate of Carthage even seemed to be willing to grant me another statue at public expense! I wish to express my warmest thanks. There remains only the expense for the bronze, but that cannot be a problem here. As soon as the plan has been realized, I will put my thanks down in a book that will sing your praise all over the world.

Apuleius touches on biographical and literary matters in this piece, the longest in the collection. He draws an extensive parallel between himself and the comic poet Philemon, about whose death he gives a colourful anecdote. This tale in turn appears to introduce a long and fairly complex section of eulogy. Here the speaker's aim seems not merely to thank the people of Carthage for favours that have been granted, but mainly to stimulate them to add even more.

The facts are not entirely clear, but from Apuleius' account the situation may be summarized as follows. Apuleius had been forced to interrupt a recitation due to rain, and twisted his ankle, which caused him great pain. He went to the Persian Baths for treatment. On his return, he planned to resume his interrupted speech, but found himself obliged to thank the magistrate for an honour that had meanwhile been granted to him: the magistrate had praised Apuleius and had asked the senate for a location where he could erect a statue for him at his own expense. The proposal had been approved but the statue had not yet been erected. In the present text Apuleius starts to praise both the magistrate and Carthage, but also appears to postpone a more definitive expression of his gratitude to a later time. After cautiously alluding to a possible second statue the town might want to erect for him in the future, he addresses the elite of Carthage more directly and urges them to supply the bronze for the first statue themselves (rather than requiring the magistrate to pay for it). Only when the statue has been erected, he says, will a book in praise of Carthage be published.

If this reconstruction is correct, Apuleius' speech shows his considerable rhetorical skills and the versatile character of the longer pieces in the Florida: what opens as a personal and diverting story turns into a formal speech of thanks (gratiarum actio), only to end in a strong exhortation of the audience. Thus, the past and the present (both literary and personal) subtly merge with expectations of the future. For the overall structure and strategy, see also Hijmans 1994, 1769-70 and Toschi 2000, 16-24.[1]

The speech does not show conspicuous omissions at the beginning or end, and so may well be a complete prolalia; cf. also Toschi 2000, 10-1. It is not clear what followed it. But since further praise of Carthage is postponed until later, the main part of the performance may well have been the postponed second part of the speech interrupted by rain (cf. 16,24 ueniebam redditum quod pepigeram); the nature and themes of that speech are entirely unclear. A rather different view is that of Mras 1949, 212, who argues that Fl. 16 forms not just a complete prolalia, but actually contains a main speech (the provisional expression of thanks in 16,25-47); see discussion below on 16,25.

In the longwinded introduction to the issue of the statue (or statues), Philemon figures prominently. The famous Greek poet is given much attention, just as the sophist Hippias was in Fl. 9, and Pythagoras in 15. The graphic account of his literary activity and of the circumstances of his death (see on 16,14) was bound to capture the attention of Apuleius' audience, and serves as a mirror for the speaker's own experience. So he literally puts himself on a par with this great name from the past, thereby inserting himself once again into the ranks of Greco-Roman literary history.

The treatment of Philemon shows the speaker's knowledge of and interest in the literary genre of comedy: in fact he gives a fairly complete picture of what Middle Comedy amounts to (although the term New Comedy might be preferable); see notes on 16,6-9. One may, however, find fault with Apuleius' knowledge, which seems inexact and second-hand. For example, declamatory performance of New Comedy is unattested and may have been invented by the speaker here to aid the analogy with himself, as Harrison 2000, 118 remarks. On Middle Comedy in general, see Nesselrath 1990; for the testimonia on Philemon, see Kassel/Austin 1989 (Poetae Comici Graeci VII), 221-8 (the present Florida fragment is nr.7). A survey of Philemon's plays is given in Webster 1970, 125-51.

The importance of statues in the ancient world can hardly be overestimated: these objects gave enormous prestige and were therefore sought after. For writers of the Second Sophistic, they could even turn into an obsession, as the example of Favorinus' Corinthian oration (extant as D.Chr. 37) shows; cf. also Apol. 14,2 and 73,2 with notes there. There is some evidence of two other statues of Apuleius in Oea (Augustine Ep. 138,19) and Madauros, where a base has been found with the following inscription: <phi>losopho <Pl>atonico <Ma>daurenses ciues ornamento suo (cf. RE 14,1,202 s.v. Madauros; ILA 2115).

In the present anthology, statues are an important motif in Fl. 7 (in relation to Alexander the Great; cf. notably 7,8) and the preceding piece, Fl. 15. The lavish praise of the magistrate may be compared to the ceremonial speeches Fl. 9 and 17. Literary quotations, e.g. from Virgil (16,33), the Carthagian setting, puns (notably on Philemon's death compared to a play's end, 16,17-8), the interest in medicine (cf. 15,17; 19; and 23; further Apol. 40-52), and the use of refined language, also strongly link the piece to the rest of the collection.

The speech was obviously delivered in Carthage, but not in the curia, as appears from 16,41. From the mention of Aemilianus Strabo and the reference to his becoming a proconsul in the near future (16,40), we might deduce an approximate date: Strabo was consul suffectus in 156, together with a certain A. Avillius Urinatius Quadratus (CIL VI, nr.2086, 67); see also PIR1 674 (III, p.275-6). Since the period between a consulate and a proconsulate was at least thirteen years (Vössing 1997, 438n1488) the speech could date from the late 160's or early 170's; the year is estimated at 169 by Sandy 1997, 8n27; cf. earlier Carratello 1973, 193. However, the reference to Strabo's future proconsulate does not allow us to consider it a fact; the speaker may well be complimenting Strabo, much as he flattered Honorinus in 9,40. Therefore, even an approximate date cannot be established with certainty.

On the whole speech, cf. further Mras 1949, 211-2; Sandy 1997, 163-4; and Harrison 2000, 116-20. For a separate edition of Fl. 16 with a commentary in Italian, see now Toschi 2000. The piece is also given special attention by Tatum 1979, 171-7, who in an appendix gives a full translation. For the Philemon section compared with the Apol., see Hunink 1998.

 

16,1            principes Africae uiri: `leading men of Africa'. Fφ use an abbreviation here: a.v., but its explanation by Lipsius is surely correct; cf. 16,35 apud principes Africae uiros.

This is a most flattering address of the audience, which turns out to be the Carthaginian elite; see 16,43-44 and cf. Rives 1994, 283. Apuleius' phrase will be almost literally resumed in the opening words of Tert. Pall. 1,1 Principes semper Africae, uiri Carthaginienses... Less likely, Vössing 1997, 452n1528 and Toschi 2000, 13 argue (as Opeku 1974, 161) that the address is intended for the entire populace of Carthage.

quam - postulastis: the situation is not entirely clear. Later in the text (16,36) it will be Aemilianus Strabo, who appears to have taken the initiative in proposing the statue. From the present words, notably the added praesenti, which must refer to the period before Apuleius had to stay at the Persian Baths, it might be deduced that a similar proposal by others had preceded the magistrate's suggestion. By all means, the speaker is eager to extend his praise in some way to the entire audience, in order to gain its sympathy right at the start.

The contrast between praesens and absens is, of course, conventional; one example among many is Cic. Brut. 11 `uos uero,' inquam, `Attice, et praesentem me cura leuatis et absenti magna solacia dedistis'. The contrast is reinforced by the parallel structure of the two cola, including an adverb and a finite verb, both of the same length and rhythm.

prius: for the resumption of prius after priusquam, see 3,8; further e.g. Pl. Poen. 321-2 and Ps. 524-5.

allegare: `to adduce in support of a request or plea' (OLD s.v. allego I 3). The verb, used instead of a more neutral verb like dicere, strikes a dignified note.

16,2            Persianas aquas: the name of baths functioning as a health resort.[2] The most likely candidate for the origin of their name is T. Iulius Perseus (cf. PIR2 456 (IV, p.245)). He was a businessman who under Antoninus Pius received the contract for the collection of taxes in Africa and who, therefore, must have been a man of wealth and status. Later in the Florida he is referred to in 18,39, with his munificence being underscored in 18,40.

The baths are likely to have been part of a shrine devoted by Perseus at Hammam Lif, across the bay from Carthage, at the foot of the Djebel bou Kournein. There an inscription has been found: Aesculapio; T. Iulius Perseus, cond(uctor) III p(ublicorum) A(fricae) (CIL VIII.1, 997). For this identification of the Aquae Persianae, see Champlin 1980, 43; Rives 1994, 287wn29 and 1995, 183; and Toschi 2000, 55. According to Rives 1995, 183 the hot springs of the shrine again became popular in the nineteeth century.

gratissima - medicabula: a striking dicolon with correspondencies of sound and sense, using newly coined nouns for `a place for swimming'[3] and `a place for cure'; see Ferrari 1968, 125; Facchini Tosi 1986, 124; and cf. 15,6 pulsabulum.

16,3            quippe...: in a parenthesis, the speaker affirms that he is most willing to tell everything about his life, the implication obviously being that he has nothing to hide or to be ashamed of; cf. e.g. Apol. 5,5. The impression of devotion to the audience underscores his bond with it.

16,4    de repentino: `all of a sudden'. Here, as in Soc.pr. 3, Apuleius uses the adjective with a preposition rather than the adverb repentino; see OLD s.v. repentinus 1b and cf. earlier Caes. Civ. 3,11. This usage seems to be modelled on common combinations such as de subito instead of subito or de improuiso for improuiso (neither combination is attested in Apuleius' works).

quid... distulerim: the phrase must mean `why I have postponed disappearing', `why I have disappeared', but the intransitive use of differre in this sense is unusual. Hence proposals such as distulerim me (Oudendorp) or distulerit (Wower) are attractive. However, the text may be kept; Helm compares Met. 4,34 (102,12f.) and 5,21 (119,13f.) festinat differt, audet trepidat...

ab hoc splendidissimo conspectu: a similar praise of the audience was given at 9,3 splendidissimo huic auditorio. Cf. also below, 16,35 and 46.

16,5    paulo secus: `not far off', `very nearly'; cf. OLD s.v. secus A 4. In this sense, the combination does not seem to occur elsewhere, except in Apol. 23,1. Here it must be taken with simillimum.

inprouisa pericula: the speaker makes rather much of his absence. His calculated reference to `danger' takes advantage of the natural curiosity of the audience. The next two sentences equally play on their feelings: by means of a suggestive question he makes room for himself to insert an anecdote, embedded in a enjoyable piece of literary history.[4]

16,6            Philemon: Philemon of Syracuse (or Soli in Cilicia) (ca. 365-265 B.C.), was a Greek writer of New Comedy; see references above in the introductory note. Only fragments of his works are extant.

mediae comoediae scriptor: no other ancient source reckons Philemon to Middle Comedy, to which he indeed does not belong any more than Menander. Apuleius is perhaps a bit careless in his reference here. See also discussion in Nesselrath 1990, 62, who argues that Apuleius may be expressing a typological difference, in that Philemon used techniques that made him stand back behind the more `modern' Menander.

fabulas - dictauit: `he composed pieces for the theatre'. Cum Menandro obviously does not mean `in cooperation with' but `in the same period as' Menander.

fortasse impar: Philemon was generally regarded as being only second after Menander; cf. Quint. 10,1,72 Philemon, qui ut prauis sui temporis iudiciis Menandro saepe praelatus est, ita consensu tamen omnium meruit credi secundus; further e.g. Vell. 1,16,3. See also Demetr. Eloc. 193, who comments on Philemon's style, that makes his texts suitable for reading rather than staging. Comic authors like Menander and Philemon were both recommended by teachers of rhetoric; cf. e.g. Quint. 10,1,71.

pudet dicere: the moralizing judgement seems to belong to a certain tradition connected with the rivalry between Philemon and Menander. See notably the anecdote told by Gel. 17,4,1: Menander a Philemone, nequaquam pari scriptore, in certaminibus comoediarum ambitu gratiaque et factionibus saepenumero uincebatur. Eum cum forte habuisset obuiam: `Quaeso,' inquit, `Philemo, bona uenia dic mihi, cum me uincis, non erubescis?'

In the present context, this negative appreciation of Philemon is rather striking. Throughout the Florida Apuleius refers to famous Greek persons mostly as admirable models. In the rest of the anecdote, Philemon is only praised; e.g. 16,10 his laudibus - nobilis. Since the speaker is actually comparing himself to the Greek example, the negative element does not seem entirely appropriate.

16,7            multos sales...: Philemon, who was critized in the previous sentence, is now credited with considerable qualities as a writer of comedy. His work shows all the usual features of New Comedy: wit, intricate plots, recognition scenes, good characterisation and an appriopriate level of tone and style. Together with the following details about stock characters, Apuleius' description amounts to a definition of good comedy. It also seems to provide a fair account of Philemon's comic technique, as far as we know it; see the analysis in Webster 1970, 142. The choice of idiom and the rhythm, with its parallel cola and enumerations of i.a. participles and nouns in -tor add to the splendour of the passage. The description of comedy given here can profitably be compared with the pattern of comedy that can be detected in Apuleius' own Apology; see Hunink 1998.

lepide inflexa: `charmingly varied'. Augello accepts the proposal by Kassel 1962 to print implexa (`interlocked', `entwined'), but the MSS text is rightly defended by Frassinetti 1991, 1207-8 who compares Sen. Con. 1 pr.23 orationem inflectere, and Toschi 2000, 63-4.

adgnitus: `recognition'. This emendation of Casaubon for the impossible adgnatos in Fφ is now generally accepted. Colvius' proposal ac nodos is defended by Kassel 1962, but recent editors have not followed him. The word agnitus does not occur before Apuleius (TLL s.v. quotes only Paul.Nol. epist. 16,9; see also Ferrari 1968, 129).

soccum... coturnum: for these conventional symbols of comedy and tragedy, see on 9,27.

16,8            corruptelae: `seductions'. In both Greek New Comedy and Roman comedy, rape of young women is a strikingly dominant motif; see Rosivach 1998, esp. 13-50. Rape is often used as a plot device,[5] and it is taken over by Roman authors from Greek New Comedy without significant difference; see Rosivach, 35-7, who gives a list of 25 common elements running trough all the accounts of rape in comedy. There are, of course, differences between the ancient playwrights in their treatment of erotic matters. For instance, the motif of `romantic love', that is so important in Menander's plays, is greatly reduced by Plautus; see Anderson 1993, 60-87.

[e] tuti: this correction by Leo for et uti of Fφ is attractive indeed, but so is the original reading (still adopted by Hildebrand): et uti errores would be a further qualification of corruptelae: they were not numerous and `like mistakes', i.e. not very destructive. However, the correction is favoured by the rhythm of the sentence with the resulting balanced tricolon.

16,9    nec eo minus...: although Philemon's pieces are said to have been of a higher moral standard, the dramatist did not leave out the stock characters of comedy that were, for the most part, firmly associated with sexual misbehaviour: the perjured pimp, the hot lover, the cunning slave, the cheating mistress, the nagging wife, the indulgent mother, the reprimanding uncle, the helpful friend; and the warrior soldier. Greedy parasites, steadfast parents, and frivolous whores complete the picture. The list of twelve characters is arranged in four groups of three cola consisting of two elements (with words ending in ‑us, ‑ens, ‑(a)tor, and -aces. For another short list of stock characters, cf. Ter. Hau. 37-40 and see further Toschi 2000, 68-70.

sodalis opitulator: most of the twelve stock characters mentioned are instantly familiar to readers of comedy and have been identified already by ancient critics. There is one exception: the `helpful friend' mentioned here. But on closer examination, this character too enjoyed a fairly wide distribution in Greek and Roman comedy: see Anderson (W.S.) 1993, 34-46. Opitulator is not attested before Apuleius, who also uses it in Soc. 16 (156); here it matches the other nouns in -tor; cf. Facchini Tosi 1986, 133.

miles proeliator: the second word has wrongly been questioned by some scholars. The soldier is, of course, not actually fighting, but merely bragging about the battles he has fought. One may think of the miles gloriosus of Plautus.

edaces... tenaces... procaces: three strong adjectives, with similar formation, accent and ending, accompany the last items of the list.

16,10  hisce laudibus... nobilis: the critical remarks rating Philemon inferior to Menander (16,6) seem almost forgotten by now.

recitabat: a curious anachronism. The public reading of plays had become common practice in Apuleius' day. But in Philemon's time, this phenomenon was still unknown; cf. Starr 1991. Apuleius either does not care for historical precision or is simply not aware of the error. This casts further doubt on the authenticity of the story as it is presented here.

tertio actu: the third act of the comedy is said to provoke heightened, pleasant emotional effect, which is presented as a statement about comedy in general. As a general observation, it seems plausible, but I have found no such explicit theoretical statement on this matter by other ancient authors.[6]

fieri amat: `is wont to happen'; cf. OLD s.v. amo 12. The use of amare here may be not accidental, given the importance of `love' as a motif in comedy (cf. 16,8-9).

ut mihi: the clause readily drives home the factual parallel between Philemon and the speaker himself. He too had apparently been forced to interrupt a recital because of sudden rain.[7]

auditorii - coeptum: a conspicuous case of wordplay on the gathered audience and the undertaking of listening. For coetum and coeptum used in close vicinity, see Sil. 12,492-3, where they form the last words of consecutive lines.

16,11            relicum...: the syntax is not quite clear. The accusative and infinitive construction suggests a case of free indirect speech, reflecting Philemon's promise to his audience, but the ablative absolute uariis postulantibus rather seems a comment inserted by the storyteller.

deincipiti die: the adjective deinceps is extremely rare; cf. TLL s.v. deinceps 404,30f., where the only earlier example comes from a legal text (CIL I,198 iudex deinceps); cf. further Ferrari 1968, 101.

conuenere: a `constructio ad sensum', with a plural verb form following a collective singular frequentia, as below in 16,12 extimus quisque... queruntur; cf. also 18,1.

16,12            collocat...: a long series of brief sentences with main verbs in the indicative graphically illustrates the eagerness and expectations of the gathering audience.

exaduersum: `on the opposite side'. People try to take seats so as to face the reciting poet.

adnuit... impertiunt: the text as it has been transmitted gives two separate sentences, but most scholars refuse to accept this and combine them, adopting amicis (Wower) and impertiant (Rohde), the sense then becoming `latecomers nod to friends to make room for them to sit'. However, the original two sentences make excellent sense: `latecomers nod to friends; they give them room to sit'. The parataxis is typical of Apuleius' style and seems particularly functional here (cf. on collocat). There is therefore no reason to change the text.

sessui: the noun sessus `the act of sitting down' is not attested before Apuleius, and seems to have been coined for the occasion, as is the following excuneatus `pushed off the seats'; cf. Ferrari 1968, 129 (for the latter also Facchini Tosi 1986, 145).

16,13  queri: the nature of the complaints is not specified, but given the immediate context people are likely to have been murmuring about the massive crowd in the theatre.[8] Unlike queri (dependent on occipiunt), the following forms percontari, recordari, and expectare are historical infinitives.

gnaris: the sense is passive: `known, familiar'; cf. OLD s.v. gnarus 2. Helm in his app. crit. refers to an interpretation of cunctis... gnaris as a dative, but this is obviously wrong.

16,14  dies ire - defendere: another series of four historical infinitives.

condictum: `appointment', a rare use of the participle as a noun, as in Gel. 20,1,54 and in later authors; see TLL s.v. condico 139,26.

in suo sibi lectulo: for the reinforcement of the possessive by sibi (as in 9,17; 18,20; and 23,5), see Callebat 1968, 258-9 and GCA 1985, 134 on Met. 8,14, where it is noted that this occurs regularly in comedy, which is a nice linguistic touch in the present context. The diminutive seems to add to the effect.

mortuum offendunt: after the lively picture of the theatre, packed as it is with the eagerly waiting audience, this comes as a shock, even though the speaker had announced to tell of Philemon's interitus (16,5). The entire action of selecting deputies, their entering the house and finding Philemon, is condensed into just a few words. The change of tone is underscored by the change from infinitives to a finite verb, and by the rather prosaic adjective mortuus.

Apuleius then goes to some length (16,15-8) in presenting a pathetic and graphic picture of the dead poet, found with a scroll in his hand, having concluded the `play of life', two points that lend themselves well for rhetorical elaboration.

The anecdote is merely one version of Philemon's death. According to variant stories, Philomon died after he had been awarded the crown of victory (Plut. Mor. 785 b), or from excessive laughter (e.g. Lucian. Macr. 25), or after he had dreamt about nine young women who were not allowed to stay with him (Suda); for these and other stories about the causes of death of comic poets see Lefkowitz 1981, 115-6; the testimonia on Philemon's death can be found in Kassel/Austin 1989, 221-3. Apuleius' version seems to match that of Aelian in his lost Peri Pronoias, as referred to by Harrison 2000, 117.

16,15            obriguerat: `had become stiff (with cold)'. This is a rather prosaic and clinical word, much as mortuus, which seems slightly at odds with the pathetic picture to follow shortly. To modern taste, Apuleius' language can appear to be crude wherever it touches upon physical or medical aspects. See also notes on 3,13 and 15,19.

similis cogitanti...: the poet is represented in a typical pose, lying on the bed, with his hand on the bookroll, held near his face (see next note). The picture owes something to epic representations: incumbens toro recalls Verg. A. 4,650 incubuitque toro and e.g. Ov. Met. 10,281; cf further below on os - impressus.

manus - implexa: Apuleius first focuses upon the poet's hand and mouth, which are each given a short clause. There is no need to change the text to e.g. manum uolumini implexus, a suggestion of Bosscha defended by Purser 1910, 152.

os - impressus: Philemon is touching the book with his lips. The liber must be the same object as the uolumen, but its adjective recto is not immediately clear. The bookroll may be `lying straight before him' (Ellis 1901, 50 defending the text), or, as it is more commonly taken, it is still held upright by the poet. For the whole phrase cf. the picture of Dido in Verg. A. 4,659 dixit et os impressa toro: `Moriemur inultae...'.

libri oblitus: the pun on liber takes up the persistent i-sound in similis and uolumini.[9] The balanced tricolon uacuus, oblitus, securus (`free from care about') ends the first impression the audience gets of the dead poet.

16,16            formonsae mortis: an unusual combination, for which the closest parallels are Prop. 2,28,2 tam formosa... mortua and Sen. Nat. 3,18,4 nihil est moriente formosius. For phrases like mortis miraculo, see Luc. 3,634 uarii miracula fati with note by Hunink.

miraculo: here the word merely refers to a surprising phenomenon. In other contexts, miraculum is an important word of ancient (pagan) religion; cf. discussion by Toschi 2000, 81-2 with references.

16,17            Philemonem poetam...: to Apuleius' audience, these words bring nothing new, since everybody knows whom the anecdote is about. The function of the words is to suggest that what follows is a faithful reproduction of the message.

qui - finiret: a second relative clause after qui expectaretur, added paratactically to increase the pathos. Editors generally print the text without a comma after expectaretur (qui expectaretur qui - finiret), thereby suggesting that the second qui (as an equivalent of ut) is not on the same level as the first one. But a paratactic order is more Apuleian and quite fitting in this pathetic context (cf. also note on Philemonem poetam). I follow Hildebrand and print a comma after expectaretur.

The sentence exploits the topos that life can be compared to a play. The idea is widespread, notably in moralizing texts: cf. e.g. Sen. Ep. 77,20 quomodo fabula, sic uita non quam diu, sed quam bene acta sit, refert and 80,7; some other variants may be found in Cic. Sen. 5 and 70 (with Powell ad loc.); Marc.Aur. 3,8 and 12,36 (with Farquharson's note); further Suet. Aug. 99. Here the contrast between ending a fictional plot and the real story of life is obvious. It is broadened by the contrast of the public and private place, theatre and home.

ualere et plaudere: typical words to end a play, notably a comedy, as may be seen in e.g. Pl. Men. 1162 nunc, spectatores, ualete et nobis clare plaudite; Per. 858; Truc. 968; further Ter. Eu. 1094 ualete et plaudite (with Barsby ad loc.); Hau. 1067; and Ph. 1055; further Hor. Ars 155. In the present text the words are fittingly ascribed to Philemon as his last words, directed to `human affairs' in general, and so they continue the metaphor of life as a play. Cf. a similar use in Cic. Sen. 70 neque sapientibus usque ad "plaudite" ueniendum est. The following pair dolere et plangere is used correspondingly, but does not form a fixed combination as such.

16,18  illi: the word is commonly corrected to illi<s> (a suggestion by Rohde), but the change is not needed. The form illi might be interpreted as an adverb, the equivalent of illic, meaning `there' (i.e. in the theatre), as Kronenberg 1928,45 proposed. However, since the messengers are speaking at exactly the same place, the reference would be awkward. More naturally, illi can simply be taken as a pronoun `to him': the rain has predicted to Philemon himself that tears were going to be shed, in this case by others.

funebrem... nubtialem: the analogy of `wedding and funeral' has a long literary history. Apuleius uses it notably in Met. 4,33-4; see notes in GCA 2001 ad loc. A New Comedy often ended with a scene of merrymaking or a wedding, as in Menander's Dyskolos. For the spelling of nubtialis, cf. Apol. 67,3 and see Introduction E.1 (1).

personam uitae: `the mask of life', another variant of the metaphor of life as a play. On the term persona in Latin, see Toschi 2000, 65 with references.

legenda: a concluding pun. First the bones of the poet are to be gathered (after cremation), then his poems must be read; cf. OLD s.v. lego 1b and 8.[10]. For similar puns, cf. e.g. Sen. Ep. 23,21 malo te legas quam epistulam meam; Priap. 68,2 libros non lego, poma lego.

16,19  ut meministis: having concluded the literary anecdote and after bringing in his own experience, the speaker makes sure the audience too can relate to it. The explicit reference to the assent of the audience (uobis uolentibus) strengthens their bond with the speaker as well.

recitatio: we have hardly any clue as to the contents of Apuleius' recitatio, apart from the imprecise mention of historiam in 16,22 (see there). The recitation may well have concerned a speech, but given the general context we cannot exclude the possibility that it was some form of comic drama; cf. 9,27 (socco); 9,28; 20,5-6. The occurrence of rain implies that the recitation probably took place during the winter.

paenissime: perhaps a comic touch, since the superlative of paene occurs outside Apuleius' works only in Plautus (three times): e.g. Aul. 466.

16,20            palaestra: it is difficult to imagine an intellectual such as Apuleius engaged in activities such as wrestling. The name palaestra covers a broader range of sports and gymnastic exercises.

talum inuerti: `I twisted my ankle'. The joint was dislocated and nearly broken from the leg. Apuleius tried to realign it himself with much effort, which resulted in much perspiration, chilling, and strong pains of the intestines. For the incident, one may compare Sen. Ep. 104,18 fregit aliquis crus aut extorsit articulum: non uehiculum nauemque conscendit, sed aduocat medicum ut fracta pars iungatur, ut luxata in locum reponatur.

The detailed account serves to satisfy the obvious curiosity of the audience, eager to know everything about its famous orator. It also seems to be presented self-consciously to add to the general picture of the speaker: he takes great care of his body, knows much about diseases and medicine (see also introductory remarks to Fl. 16), and is able to cure himself.

defregerim: F has the impossible form defringerim. Evident corrections are defringerem or defregerim. Helm and others choose the former, but the latter has better MSS authority, being the reading of φ, and seems to fit in better, as it produces a homoeoteleuton with afuerim.

luxu... fluxus: a pun that is hard to replicate in English. The rather technical account of the injury is enlivened with rare words and sound effects, notably of u. The noun luxus in the sense `sprain' does not occur before this place (and very rarely after it) and may have been coined to match fluxus `feebly, shaky'; cf. Facchini Tosi 1986, 102.

16,21            sudoro... corpore: `with perspiring body'. The adjective is reinforced by adfatim. For diutule, see 2,1.

obrigui: the word clearly echoes 16,15, where it was used in the description of Philemon's death. Apuleius himself nearly suffered the same fate; see next note.

16,22            letum... lectum: like Philemon, the speaker could almost have died. Three puns drive home the intimate connection between the two. The content of the puns is similar to those in 16,17-8, all referring to an premature ending of one thing before another. In the present series, more prominence is given to similarity in sound: letum/lectum,[11] fata/fanda).

historiam: a rather vague term, from which we should not necessarily deduce that Apuleius was reciting from a work of historiography (for this sense, see 20,5). Instead the word may refer to a story, or to any account or description (see OLD s.v. 1). See further on 16,19 recitatio.

16,23            utiquam blando fomento: though the first element of temperies can only refer to the quality of the baths (`moderate temperature', OLD s.v. temperies 2b), the same need not be true of the fomentum, as e.g. Vallette suggests. The word is commonly used for `compress' or `covering', which seems to make good sense in the case of a sprained ankle. The adverb utiquam `in any way' is archaic and rare, and also occurs at 17,16 and Apol. 71,1.

gressum reciperaui: `I had regained the power of walking' (cf. OLD s.v. gressus b). From the following clauses (16,24), it appears that the speaker cannot yet rest his full weight on the injured ankle, but still limps and probably needs a stick to lean on. The image is one of much pathos: the speaker poses as a man who cannot wait to reappear before his audience.

16,24            ueniebam redditum...: this refers to the earlier recitation by Apuleius interrupted by rain and his promise to finish the rest of it (16,19). For the construction of uenire with a supine, see OLD s.v. uenio 3a.

beneficio uestro: a still rather vague allusion to honours decreed to Apuleius in his absence. For a reconstruction of events see the introductory note to this section. Beneficium is a key-word in Fl. 16, as Toschi 2000, 91 rightly observes (as is honor, e.g. 16,25). The rhetorical commonplaces are further discussed by Toschi 2000, 29-41.

pernicitatem: a long, stately word for `speed', obviously selected to match the preceding clauditatem. The impressive effect is reinforced by the surrounding long forms dempsistis and addidistis.

16,25  an non...: after the narration about Philemon and the comparison with himself, the speaker enters upon a long rhetorical passage, in which he develops ostentatious expressions of thanks, first to the audience and the city at large, later to Aemilianus Strabo, combined with cautious requests for additional honours; see the introductory note to this section. The opening sentence is a rhetorical question, embellished by the corresponding cola multas gratias dicerem... nullas preces dixeram.

According to Mras 1949, 212 this is beginning of Apuleius' provisional speech of thanks to which the first part of Fl. 16 has formed the introduction, and he argues that this is one of the rare cases where we have both a prolalia and a main speech. Against this view, it may be adduced that the transition to 16,25f. is so smooth as to be virtually imperceptible. Moreover, Apuleius clearly announced that he would be expressing thanks in 16,1, which makes it likely that this element belongs to the introductory speech: nowhere else is the subject of a main speech announced at the start of a prolalia, but it is rather left open or, at best, referred to at the end (e.g. 18,37-43). It is more likely that the whole of Fl. 16 is a complete prolalia, originally followed by the postponed second part of the speech interrupted by rain (cf. 16,24 ueniebam redditum...); see also introductory note to Fl. 16.

non quin...: a compliment for city and speaker alike. Considering Carthage's importance, Apuleius might well have asked for the favour, but it is more honourable that it has been granted him for free. The connection of this idea with the `need to hasten' is somewhat strained.

defregisset: `had detracted from.' The same verb was used shortly before in a literal sense for the nearly broken ankle (16,20). Its repeated use here is surely on purpose.

16,26  neque enim...: an easy thought. Asking and accepting a favour is harder than simply obtaining what you want by using your own resources. Cf. Cic. Ver. 2,4,12 (ironical) profecto hinc natum est: malo emere quam rogare; further Sen. Ben. 2,1,4 nulla res carius constat quam quae precibus empta est.[12] Earlier in the Florida, utensilia were referred to in 9,24 and 26 and 15,5.

quam: for quam in the sense of magis quam, a usage frequent in later Latin, see LHSz 2,593.

16,27            duplam gratiam: the thought is amplified. The `undiminished thanks' for what one has received unasked-for now appear to be `double thanks', that are, moreover, both addressed to the giver (rather than to oneself.)

16,28            multiiugam: the sentence adds two new elements. The thanks are not merely double but `manifold' (for multiiugus, see on 15,22) and the speaker will proclaim his double thanks at all times and places.

16,29  libro isto... conscripto: a slightly problematic reference. Apuleius refers to a written text that appears not to be the future, definitive speech of thanks, but what text could he mean? Not surprisingly, editors have proposed changes to the Latin here. Instead of isto, Vallette prints the suggestion of Rohde, iusto. Before conscripto, Helm initially added <nondum>, a proposal he later withdrew. Both proposals are unnecessary. Most likely Apuleius is referring to the present liber, that is, the provisional speech he is presently delivering; thus also Hijmans 1994, 1736wn95; and Toschi 2000, 23 and 96.

philosophus: the reading of Fφ philosopho was defended by Armini 1028, 332, but debere with a dative would be rather awkward Latin. Helm and Vallette are no doubt right in following Colvius' emendation.[13]

16,30  a qua paululum...: unlike the previous sentence, here the speaker apparently alludes to the future, definitive speech of thanks, that Apuleius feels an obligation to make to Strabo. The text has been corrected at several places (F reads a qua paululum demutauit libere quam, which does not seem to make sense).[14]

The future speech is said to deviate from the normal pattern. That is, it will be much more complimentary, on account of the outstanding qualities of Strabo (16,31), which almost defy expression (16,32). The two clauses coming in between (quem librum - probare 16,30) can best be considered as a parenthesis.

satis - probare: the short clause confronts us with another cluster of textual problems. Satis (Rohde) for scitis of Fφ is commonly accepted. For probare Helm first adopted parare (Van der Vliet), but eventually (in his edition with German translation) returned to the MSS text. The infinitive is dependent on satis (sc. est).

eum: this refers either to the future liber, mentioned shortly before, or to the person of Strabo, the subject of the next sentence. It is difficult to choose between the two alternatives. The sense of probare is, of course, bound up with the reference in eum: it will suffice to give `a taste of the speech' or `to speak in favourable terms of Strabo'.

16,31  tantus in studiis: for a Second Sophist, studia are the highest and best area in which to excell. The compliment to Strabo that his erudition gives him a higher standing than his noble birth and political honours closely resembles the short fragment Fl. 8.

praenobilior: the word is not attested before Apuleius; cf. GCA 1985, 32; Ferrari 1968, 136 and Facchini Tosi 1986, 144n125.

quibusnam uerbis...: Apuleius starts his proper address of Aemilianus Strabo with an impressive period. The four successive indirect questions (quibusnam uerbis..., quibus tandem uerbis..., qua digna ratione..., qua remuneratione dicendi...) are all dependent on the final nondum hercle repperio (16,32); cf. the analysis in Toschi 2000, 99-100. The first three clauses involve traditional turns (cf. e.g. Cic. Phil. 5,35 quibusnam uerbis eius laudes huius ipsius temporis consequi possumus?) but the phrase remuneratio dicendi seems an original Apuleian coinage.

uir omnium - erunt: a traditional turn of phrase again. Cf. the famous lines of Catullus on Cicero: disertissime Romuli nepotum / quot sunt quotque fuere, Marce Tulli, quotque post aliis erunt in annis... (49,1-3); cf. also Catul. 21,2-3; 24,2-3.[15] Further Pl. Per. 777 qui sunt, qui erunt quique fuerunt quiqui futuri sunt posthac; Bac. 1087; Cic. Red.Pop. 16.

inter optimos clarissime...: for the technique of amplification by means of a gradatio, cf. 8,1-2 Nam ex innumeris hominibus pauci senatores, ex senatoribus pauci nobiles genere et ex iis consularibus pauci boni et adhuc ex bonis pauci eruditi; see note on 8.1. The list again highlights the erudition of Strabo and the eminence of studia: the climax is reached with the word doctissime.

16,32            gratias habitum... eam: again, Apuleius uses a construction with a supine. Cf. above on 16,24 and see OLD s.v. eo 12.

dicendi: to be taken with qua remuneratione, `with what payment in return in the form of speech...'

16,33  `dum - artus': a verse quotation to express the idea `as long as I will live'. The line is Verg. A. 4,336, where it is spoken by Aeneas to Dido.[16] Apuleius has numerous quotations from Vergil in his works; cf. above on 3,3. For specific references to the Aeneid see also Apol. 30,7 in opere serio and Mattiacci 1986, 163wn16.

inpraesentiarum: the adverb (formed from in praesentia rerum: TLL s.v. impraesentiarum 673,72f.) is used twice, after it has already occurred in 16,29. The repetition may be intended to illustrate the speaker's difficulty in finding the right words, as he is overwhelmed by joy.

16,34  ex illis tristioribus: a rather vague reference to opponents of the speaker. Perhaps they are the same ones as in 9,1 ex illis inuisoribus meis and 9,3 ex illis liuidis; thus also Toschi 2000, 104.

non minus mereor: the reading of Fφ produces a very arrogant statement. Editors have raised objections here and proposed various changes to make the text more modest; e.g. Helm first bracketed non, later kept non but wanted to read uereor (which is accepted by Augello). However, it is not too difficult to imagine Apuleius boasting that he has indeed merited the statue and understands its value. Such arrogance was not thought to be as reprehensible in antiquity as it is to many modern readers; one is reminded, for instance, of the notorious vanity of Cicero. The traditional reading is also defended by Toschi 1993 and 2000, 105, who renders `io la merita non meno di quanto comprendo di meritarla.'

exulto: the speaker highlights his great joy, perhaps to sharpen the contrast with illis tristioribus. The verb ex(s)ultare seems to be not entirely positive; cf. the long note by Toschi 2000, 106-7, who adduces a definition by Nonius as `gloriari cum iactantia'.

16,35  in curia Carthaginiensium: Strabo had apparently made his proposal during a meeting of the senate. This reference also shows that Apuleius is presently delivering his speech elsewhere; contra Rives 1984, 283, who mistakenly argues that Apuleius describes his speech as taking place in the curia.

splendidissima... benignissima: both words are highly complimentary adjectives to curia. Modern editors adopt splendissimum and benignissimum (to be taken with testimonium), as proposed by Van der Vliet. The result of the change would read excellently, but the reading of Fφ clearly makes good sense and should therefore be kept.

principes Africae uiros: the phrase resumes the initial flattering address in 16,1 principes Africae uiri; see the note there.

quodam modo: the words somewhat lessen the force of laudator mihi... astitit. Strabo has `in a way' acted as the eulogist of Apuleius. Without this qualification, Apuleius' words would have sounded intolerably disdainful and condescending, implying that the noble magistrate had rendered a humble service to the speaker.

16,36  libello: in a formal petition (TLL s.v. libellus 1264, 49f.), Strabo had requested that a good, well-frequented site should be given to the statue. In the written document he referred to their common studies and to Apuleius' congratulations at the successive stages of Strabo's career. For bonds of friendship resulting from common studies, see Apol. 53,10 contubernio (with note there). According to Sandy 1997, 8 these common studies may have been pursued in Rome; cf. also Harrison 1996, 491. There is, however, no clue for this.

16,37            condiscipulum: Strabo had referred to their common studies, so by implication he and Apuleius were fellow pupils, which suggests they were of more or less the same age. Since Aemilianus Strabo was consul in 156, and 32 was the minimum age for the consulship was 32 at the time, this allows us to suppose that Apuleius was born in the 120s.

The present phrase merely rephrases the thought commemorauit - inchoata of 16,36, so the word condiscipulus need not actually have been used by Strabo. See also next note.

ex pari: `on equal terms' (OLD s.v. par 9c). The speaker seems to take pains to raise himself to the level of Strabo. The fact that the magistrate had referred to Apuleius' expression of thanks to him is interpreted as a sign that their relation is one of equals.

alibi gentium et ciuitatium: a tantalizingly vague expression for `other regions and cities'. There is some evidence for statues of Apuleius in Oea and Madauros (see introductory note). The impressive phrase seems to suggest more distant locations such as Greece and Rome, but we do not know of any honorary statues decreed to Apuleius outside Africa.

honores - et alios: the words are commonly interpreted as `honorary statues and other honours', but it remains unclear what other honours are meant. The words might also be translated simply as `other honorary statues too'.

16,38            suscepti sacerdotii: an important biographical detail, although we have no certainty what priesthood is meant. Apuleius tells in Fl. 18,38 that he was a priest of Aesculapius, and Augustine (Ep. 138,19) reports that Apuleius has been sacerdos provinciae Africae. Either function may be referred to here. A case is made for the former by Rives 1994; for the latter by Harrison 2000, 8wn30.

locupletissimus testis: the same combination is used in 17,4. Cf. also Cic. Flac. 40 locuples testis doloris.

suo etiam suffragio: `even by his own recommendation'.

16,39  de suo: a confusing detail. Strabo has promised to pay for the statue of Apuleius and requested the city to accord it a proper place (16,36). However, in 16,46 it appears that the financial means to cover the fabrication of the statue have not yet been collected. See note there.

quadriiuges et seiiuges currus: `four- and six-horse chariots'. The reference is, again, to monumental representations, not to real chariots; cf. Plin. Nat. 34,19 equestres utique statuae Romanam celebrationem habent. The dedication of golden seiuges in Rome is attested in the second century B.C. already; see Liv. 38,35,4.

gratulantur: the verb is here constructed with an infinitive (ponere) and should be rendered as `to rejoice'.

tribunal: the word commonly refers to a platform, but is here used metaphorically under the influence of the following columen `summit' and columen `pinnacle'.

16,40            futurus procons.: it is not known whether Strabo ever became a proconsul, but he was consul suffectus in 156;[17] see introductory note for the consequences of dating this speech. For the polite expression of a city's hope concerning such an honour, cf. 9,40 (on Honorinus). Helm and others print the full word proconsul, but the MSS present the abbreviated form here.

16,41            decreuerunt locum statuere: this had been requested by Aemilianus Strabo (16,36). When the request was presented, probably by the presiding duouir, those who attended approved it unanimously and decreed a public site for the statue; for this reconstruction of the procedure see Rives 1995, 177, who mentions our text as an example of how suggestions for new public cults might be made in Roman Carthage. Many honorific statues are known from the cities of Africa, erected by individuals but with the explicit approval of the ordo. The appropriate formula locus datus decreto decurionum was so common that it could be abbreviated l.d.d.d.; see Rives, 185.

For statuere, Vallette and Augello adopt the easier reading statuae (Colvius), while Purser 1910 defends statuae meae. However, the MSS reading statuere `to appoint' makes excellent sense.

alteram statuam: `the (decision about a) second statue'. Until now, no mention has been made of another statue. It seems not unlikely that Apuleius himself brings up the idea, suggesting that the city of Carthage should follow the good example of the magistrate and grant him one. Apuleius cleverly adds that the matter would merit a separate meeting of the senate, so as not to detract in any way from the favour of the magistrate nor to rival his benefaction. The speaker almost manages to hide the fact that he is asking for a second statue, as Hijmans 1994, 1770 observes.

16,43  optimi magistratus: Apuleius is addressing the elite of Carthage (16,1), and it is these men who are meant by the following uobis. The plural magistratus and principes cannot refer to Aemilianus Strabo, but must refer to the senate and local dignitaries. Nonetheless, the exact reference of the sentence remains vague: the speaker implies some sort of public demand or order upon the senate, but it is hard to see how local magistrates could be given a mandatum.

ego nescirem: thus the words are divided in Fφ. Van der Vliet changed it into egone scirem, which Helm adopted, adding <non> to praedicarem: `how should I know about it and not proclaim it?' However, the former change is not necessary. The text may be interpreted as follows: `how should I be unaware of it and not proclaim it?'[18]

16,44  ordini uestro: `your order', i.e. the ordo decurionum, for which see Rives 1995, 32-3. Apuleius is not delivering his speech of thanks in the curia, as appears again from in illa curia (with a form of ille rather than hic); cf. above on 16,35. However, many among the local elite whom he is addressing (16,1) will also have been members of the senate. So the sharp division between senate and the present audience (cf. 16,43) seems to have become blurred.

adclamationibus: the word recalls the theatrical context of the anecdote on Philemon. In general on the forms and functions of Roman acclamations, see Biville 1996.

in qua curia - honor est: the flattery nearly literally copies the one addressed to Strabo in 16,35: cui etiam notum esse tantummodo summus honor est.

16,45  non existimabatur: `not merely in appearance'. The words function as the opposite of re uera.

populo... ordini... magistratibus: the speaker says that he pleases the whole population, and mentions the most important social categories in ascending order. For a similar thought, cf. 17,19-20. In that case, different age groups are specified.

praefascine: `to avert bad luck'. This rare adverb, also spelled as praefiscini of praefiscine, is archaic: cf. Pl. As. 491 praefiscini hoc nunc dixerim; see Ferrari 1968, 102-3 and Toschi 2000, 115-6. It expresses a form of superstition, and is thus used to characterize Trimalchio in Petr. 73,6. In the present place, the word merely serves to add weight to the speaker's triumphant words.

16,46  quid... superest: the same turn as in 16,39.

aeris pretium: although Strabo has pledged to pay for the statue (16,39), it now appears that the money for the bronze has not yet been made available and that no sculptor has started working on it. The speaker adds some remarks expressing confidence that the city of Carthage will eventually pay; these remarks clearly function as an exhortation.[19]

ne ut: here ne is the equivalent of nedum (OLD s.v. ne (1) 11c), but there is no reason to actually change the text and read ne<dum> ut, as Purser 1910, 155 proposes.

iudicare... computare: a rhetorically effective contrast between passing judgements on important matters (obviously something honourable to do) and the more ordinary activity of counting costs. The speaker takes advantage of the widespread elitist disdain of `ignoble counting' in the ancient world.

16,47            perfectius... effectius: Apuleius promises to deal with the matter in a more extensive way as soon as the audience will actually have granted the money for the statue. The expression is succinct (no verbs are used) and there is strong use of homoeoteleuton. The comparatives of the adverbs perfecte and effecte are not attested before Apuleius; cf. Ferrari 1968, 140. For the form effectius, cf. earlier 9,34 and 15,6.

tibi: a direct address to the audience, now specified as `senators, citizens and friends'. Each of these groups is referred to by means of impressive, complimentary expressions.

libro - conscripto: cf. 16,29. Here the words seem to refer to a future, definitive expression of thanks. Again, the speaker's reference to such a literary work and the great renown it will give to the city imply an exhortation of the audience to grant the favour; cf. on 16,46 aeris pretium.

canam: the verb would seem to indicate that the promised laudatory piece will be a poem, as is argued by Hijmans 1994, 1736n97.

16,48  uti... repraesentet: a stately clause finishes Fl. 16, promising widespread and everlasting glory to the city. One may notice the double references to place and time and the unparallelled phrase semper annorum, formed analogously to ubique gentium (cf. LHSz 2,47 and 57).

For the image of a book traveling throughout the land, Harrison 2000, 119n103 compares Hor. Ep. 1,20 and Ov. Tr. 3,1. However, in both these cases the personified book commends the author itself rather than its original audience.



    [1] According to the 17th century scholar Scioppius, the difficulties in the interpretation of Fl. 16 can be solved if we assume that a new fragment begins at 16,29 sed nunc impraesentiarum. However, this would produce many new difficulties; moreover, there is nothing in the text itself that would support such a division. Scioppius' view is rightly rejected by Opeku 1974, 259-60.

    [2] A full survey of know ancient baths may be found in RE, and a convenient shortlist arranged geographically in Neuer Pauly, both s.v. Aquae.

    [3] In Apol. 72,6 Apuleius expresses a similar fondness in relation to water. In that case it refers to having a view of the sea (prospectum maris, qui mihi gratissimus est).

    [4] Augello ad loc. supposes that the public is actually grumbling, since it wants to hear what happened to Apuleius right away. There is, of course no evidence for what the audience did or felt at all. Meanwhile, it seems quite unlikely that the speaker at the beginning of his speech of thanks aims at anything but pleasing his audience.

    [5] Rape can function as a plot device in three different ways: sometimes it leads to marriage of the rapist and his victim; the revelation of other rapes can also allow the marriage of the victim's daughter; or the discovery of earlier rapes can temporarily complicate a recent marriage; see Rosivach, 14.

    [6] Opeku 1974, 271-3 suggests that Apuleius' expression does not refer to the third act in a play, but to the third element in another division: protasis - epitasis - catastrophe, that is, to the final part in which the plot is concluded. For this he quotes Cic. Q.fr. 1,1,46 hortor ut tamquam poetae boni et actores industrii solent, sic tu in extrema parte et conclusione muneris ac negotii tui diligentissimus sis, ut hic tertius annus imperii tui tamquam tertius actus perfectissimus atque ornatissi­mus fuisse uideatur. However, this parallel is not strong (tertius actus is clearly triggered by the preceding tertius annus) and it involves a textual problem in the word actus.

    [7] For an explanation of rain in scientific terms elsewhere in Apuleius' works; see Mun. 9 (307-8).

    [8] Several proposals have been advanced to place queri, e.g. garrire (Coulon 1925,24-5), qui heri non adfuerant (Kronenberg 1928,48), or quaeri (Frassinetti 1991, 1208, with some hesitation). None of these emendations is necessary, neither for syntactical reasons, nor because the verb queri already occurred in 16,12.

    [9] Being surrounded by uacuus and securus, the pun may even be said to involve the adjective liber `free', which is not actually used itself but clearly implied.

    [10] Understandably, many translators cannot resist the opportunity for a pun in their own language on `collecting' bones and poems, the latter as if for a edition of `collected works'. In Latin, however, this sense of legere is not attested in relation to texts and books.

    [11] Abire with the forms letum and lectum, that look like accusatives indicating direction used without a preposition, is highly unusual, but our passage is quoted without further notice in TLL s.v. abeo 68,72f. The construction seems to be modeled on the use of abire with a supine, frequent in Plautus (TLL s.v. abeo 69,1f.), as in cubitum ire `to go to sleep', for which see OLD s.v. cubo 2 and s.v. abeo 2b. This turn may have inspired lectum abire, and hence, by further analogy, letum abire. A construction with a supine is actually used in 16,24 ueniebam redditum.

    [12] The desire for independence is older still and seems firmly rooted in Roman thought; cf. e.g. Cato Agr. 5,3, where the uilicus of the farm is prescribed to have only two or three households that he may ask for the loan of something, or to which he may give something in loan.

    [13] Alternatively, one might consider deceat philosophos (Oudendorp) or deceat philosopho (Hildebrand).

    [14] Quam has been explained as the equivalent of ut (see LHS 2,593) but the text would be hard to understand. Helm in his Addenda also changed liber to libro, but this would make philosophus the subject of demutabit, which seems strange.

    [15] Apuleius admired Catullus and knew his work well; see e.g. Apol. 6,5; further Mattiacci 1986, 174-6. Since all three Catullan texts involve a form of irony, one wonders whether Apuleius is entirely sincere here. It is, of course, always difficult to assess the honesty of a speaker delivering lavish praise.

    [16] Vergil's line must have been famous. It is also quoted in an anonymous poem on Alcesta: Anth.Lat. 15,144 (Riese I, 44).

    [17] According to Hijmans 1994, 1723 Aemilianus Strabo actually held the office of proconsul in 166, but there is no source to confirm this. There may be some confusion of both year and office here.

    [18] One might even refrain from adding non to praedicarem, arguing that the negation must be, as it were, repeated from nescire (thus Hildebrand); this however, would produce rather awkward Latin. A more drastic change would be praedicare <cessare>m, the emendation of Walter, printed by Vallette and Augello.

    [19] There is no indication that Strabo has not kept his promise, and the audien­ce has been thanked for its favours (16,44), which is obviously a reference to its according a suitable place for his statue (16,41). One may therefore argue that the issue of the first statue has been settled. Apuleius, then, would seem to be speaking about the `second statue', which he expects from the city as a whole. This may equally be the statue referred to below at 16,47 ad dedicationem statuae meae. However, the text remains unclear on this point.

  

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